O Último Adeus

In London, in a pub, the friends Vic Tucker (Tom Courtney), owner of a funerary agency, the former boxer Lenny (David Hemmings) and the gambler Ray Johnson (Bob Hoskins) gathers with Vince Dodds (Ray Winstone), the owner of a `showroom', to accomplish the last wish of his father and local butcher Jack Dodds (Michael Caine): to throw his ashes in the sea, in Margate. His wife Amy (Helen Mirren) delivered a note to Ray, where Jack expressed his last desire. Along their journey in a Mercedes Benz, the story of their lives is disclosed through flashbacks or thoughts, where deep secrets are revealed to the viewers along 109 minutes of this excellent film. The cast of this movie is outstanding and their performances are fantastic. There are many subplots and in the end, all the characters are very well developed though their personal dramas, recollections and dialogs. A touching movie about friendship, revelations and farewell, and highly recommended for sensitive persons. My vote is nine.

Title (Brazil): `O Último Adeus' (`The Last Goodbye')

Funerals/memorial services are probably the last place you want to be after a friend's died. The places you hung out at together seem better monuments than a cemetery or a headstone. And maybe that's where the spirit really rests.

LAST ORDERS is a soft-spoken and beautifully poignant film about the drive to scatter the ashes of a departed friend. Detours to pubs, a war memorial, and the field where he and his wife met stirr the memories of the son and three friends left to carry on. Enduring friendship, fidelity, laughter, and support become the themes of their lives together.

And whereas, in an americain film, this could all turn into a sappy series of flashbacks - Bob Hoskins, Helen Mirren, Micheal Caine, and Ray Winstone perform with all the subtle grace of traditional British cinema.

LAST ORDERS is well worth seeing for anyone.

This is a wonderfully warm and human film, perhaps a "guy's movie" as opposed to the many "girls' movies." How can you miss with such a great cast? Helen Mirren. Bob Hoskins. Michael Caine. They do a wonderful job on the story of old friends devastated by the loss of one of their group. If I have one criticism it is the overuse of flashbacks. There even are flashbacks within flashbacks. It's followed easily enough yet the total effect is one of choppiness. But the story is warm, the performances solid and a bonus is the many scenes in and around London. The Brits, unlike Hollywood, do not demand that everything be pretty and that the sun always shine. Helen Mirren is excellent again as a woman past the prime of life. Hollywood would have tarted her up. And there are plenty of grey skies and rainshowers. (Hey, this is England after all} A very fine film that obviously was a labour of love.

You know, when I saw this film, there were maybe seven people in the huge theatre at Loews Outer Circle DC. It was kind of disconcerting. I mean, who could blame people -- the film got no billboards or even advertisements, and I only heard about it through reviews in the paper. But this one's a keeper: last time you had Caine & Hoskins working like this was Neil Jordan's crime drama "Mona Lisa." It's great to see them reunite.

This is really an ensemble film, with great direction and great editing as well. The flashbacks are very well placed, so you don't get a sense of distraction as much as clarification as the filkm goes on. And the filmmakers wisely decide to use visual cues for the memories, instead of arbitrary looks back at the past.

I can say after seeing this film, I hope that I can end my life with the same kind of buddies as Jack Dodds (withou' o' co'se the necessi'y o' ge'in sloshed every nigh'.) The ensemble really works well off each other -- Ray Winstone, who was nearly incomprehensible in Sexy Beast, here shows a bit more substance as Jack's wayward but successful son. Helen Mirren pulls in a much more vulnerable performance than usual as Jack's wife (and the woman who played her as a young woman is stunning.) Tom Courtenay and David Hemmings provide a nice contrast as the proper undertaker Vic, and the drunken ex-boxer Lenny, yet you can see how they would both appeal to a guy like Jack, a lover of life.

Of course, for reasons I don't know if I'll ever get, Hoskins is the anchor. I've watched him for many years, playing brutes and sidekicks, mobsters, and fathers, at times playing the Irish, the Australian, the English, or the Italian-American. He has way of blending in and winning your attention. He can be brash, idiotic, cruel, or sweet, wise, and bold, but either way you kind of root for the guy. You can always seem to see his wheels turning just by facial expressions. The guy might never get an Oscar, but his performances are almost always memorable.

The young actors all convincingly match their older counterparts,a and I found myself watching the way the young Vic went about his medical work and swing dancing and wondering if I'd be lucky enough to end up that way, as Jack says, "having it figured out."

The ultimate message of the film is as simple and yet profoundly human as the story itself: ending your life is easy, it's the carryin' on that's hard. That's not to say that life is meaningless or awful, but just that you've got to put your heart into it, as Schepisi himself has done here. "Last Orders" and "Lantana" are two of the best unknown films out there right now. Check 'em out.

This film is based on a novel by a man named Swift but rather than being a biting satire, it's a film that only a person with a heart of stone could sit through wihtout breaking into tears. While the novel was praised largely for it's experimental style, it's the tenderness and humanity that make this film memorable.

Wonderfully acted by Michael Caine, helen Mirren, Bob Hoskins and others, it tells the tale of a London butcher's journey to his final resting place and a composite picture of his life is gradually drawn by the people who take him there. his story covers 70 years of british history which are lovingly recreated, but it's the personalities that are striking rather than the historical events that shape their lives. The film has moments of almost sublime beauty and pathos. It's a film that reminds us that, no matter how trivial our lives seem, we still have an impact on those around us.

Those of us who lament the decline of British cinema into a quagmire of Gangster flicks and rom-coms will embrace this film like a long-lost relative.